Earlier this week, Melissa R. Klapper wrote about abortion and the complexity of halacha and five American Jewish women you’ve (probably) never heard of. Her blog posts are featured on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
At Rowan University in Glassboro, NJ, where I teach, all would-be history majors and minors are required to take (and pass–we’re sticklers that way) a course called Historical Methods. This class is a huge challenge for both students and teachers, as it is writing intensive and the students rarely come to it with much of an interest in historiography, theory, or best practices in terms of scholarship. To humanize the issues, I tell tales of historians behaving badly — those who have plagiarized, forged sources, cheated — who paid the price for their professional malfeasance. But as I learned while working on my most recent book, a history of American Jewish women in the suffrage, birth control and peace movements during the early 20th century, there are other kinds of cautionary tales that should also be part of my repertoire.
Before I even began this book, I was already aware of at least two 1916 Yiddish plays about birth control, both of which are housed at the Library of Congress. I knew about them because the images of their front pages have often been reproduced in accounts of American Jewry and because they have regularly been referred to by scholars in the context of general Jewish communal support for the birth control movement. As I dove into the research for my book, I discovered that apparently no one had actually ever translated these plays in full. My reading knowledge of Yiddish, though adequate for Yiddish periodicals and the like, could not cope with the hand-written manuscripts of the plays, so with the help of a grant, I commissioned Naomi Shoshana Cohen to do the translations. She and I discussed my overall project, and she set about the time-consuming task.
Hasidic singer Lipa Schmeltzer is a true exception in the Haredi world, both because of his music and because of his personality. Frimet Goldberger lives a few blocks away from Schmeltzer in the community of Airmont, N.Y., and she and her family are members of his shul. In this exclusive interview with the Forverts, Schmeltzer discussed the community he grew up in, the people who rejected him, and how the experience changed him. Listen to the whole interview in Yiddish here.
Lipa Schmeltzer: I was raised in the town of New Square, which is a small ultra-Orthodox community, and a significant part of my popularity happened because I am a strong critic. My reputation came to be that Lipa Schmeltzer is talented, but shunned by many. And this happened in part because I grew up in [New] Square. They contributed to this rejection, because they were hurt by the mere fact that I became a singer.
To them, singing is a problem — and the genre is irrelevant. An artist who will perform at concerts; a singer who will go out in the world and fans will clap with their hands and cheer loudly; they despise this.
But my talents prevailed and I continued on my way. I grew stronger within as a result of this, and I also healed a lot from my music. And all the pain, shame, and humiliation that I endured only served to strengthen me.
On July 1, Yeshiva University chancellor Norman Lamm announced his retirement under a cloud of allegations regarding sexual abuse at Yeshiva University High School during the 1970s and ‘80s.
Lamm may be the first Y.U. chancellor to come under that kind of scrutiny, but he is not the first Y.U. leader to find himself in a tough situation. In a piece today in the Forverts, Yoel Matveev recalls the colorful career of Bernard Revel, the first president of Yeshiva College and Rosh Yeshiva of Rabbi Isaac Elchanan Theological Seminary from 1915 until his death in 1940. Y.U.’s Bernard Revel Graduate School of Jewish Studies is now named after him.
Born in Lithuania in 1885, Revel studied in traditional yeshivas, but also received a Russian high school diploma and, after immigrating to America in 1906, received a Master of Arts degree from New York University. More unusually, Revel became involved in the Russian revolutionary movement, for which he was arrested and imprisoned. Matveev writes:
Herman Broder is a gangly loser who’s won the biggest prize of all: his life. After surviving the Nazi onslaught in Poland by hiding in a haystack, he emigrates to America — specifically, Coney Island — with the gentile Polish woman who hid him, and who is now his wife. This is the setting of “Enemies: A Love Story,” a play performed for four nights last week by the Gesher Theater Company at the Frederick P. Rose Theater in New York.
This adaptation of a novel by Isaac Bashevis Singer (published serially in the Forverts in 1966) unfolds as Herman reels from one agitation to another. It seems his one noble act — protecting his savior, who endangered her own life by saving his — is all he’s got. Now he is hurled between his wife Yadwiga and his mistress Masha on bumpy inter-borough subway rides that, amid the atmospherics of striking lighting and set design, comprise some of the play’s most affecting moments. That’s when actor Israel Demidov embodies the more sympathetic side of his anti-hero. Otherwise, he is an indecisive liar. (And beds ladies with his tie on, twice.)
Herman is by turns perplexed, lusty and suicidal. Then his wife Tamara shows up. He thought she was killed in the Holocaust along with their two children. But she reappears in New York, and although they are unnerved by meeting again, it seems there is no great love to rekindle. As the realization that he has two wives and a mistress sinks in for Herman — and eventually for all three of them — he reels ever more out of control, pinging between his home life with a now-pregnant wife so devoted to Herman that she wants to convert; the Bronx apartment where his demanding mistress, another Jewish survivor, lives with her elderly mother; and conversations with his undead wife, who transmits an odd mix of reproach and caring.
A version of this post appeared in Yiddish here. Translated by Ezra Glinter.
On May 18 writer, activist and longtime Forverts columnist Tsirl Steingart died in a car accident in Palm Beach, Florida. She was 97 years old.
Steingart was born March 11, 1916 in Bialystok, where she was an active participant in the Bundist children’s organization Sotsyalistishe Kinder Farband, or S.K.I.F.
In 1938 Steingart emigrated to France, where she helped found a local S.K.I.F. branch. During the Second World War she was a member of the French Resistance, helping to rescue children from Vichy and German authorities.
Following the War, in 1951, Steingart left Europe for Montreal. There she served as principal of the Avrom Reisen School before moving to New York in 1960.
Steingart began writing for the Forverts in 1964, and became a regular contributor in 1967. She edited a section titled “Eat in Good Health” under the pen name Nina Blum, and for many years authored a column about fashion.
Steingart also wrote widely about social issues, and was a pioneering journalist in the Yiddish press on subjects affecting women.
When asked to name Jewish languages, most people would say Hebrew and Yiddish. Some might also mention Ladino or Aramaic. It’s unlikely that they would know about Juhuri, Bukhori and Judeo-Median — and that is precisely why the Jewish Languages Project of the Endangered Language Alliance has come into being.
Juhuri, Bukhori and Judeo-Median are among the several dozen distinct languages Jews have spoken across the world throughout the millennia. Most of them are no longer spoken, and those that are still in use are in danger of disappearing.
“Scholarship on Jewish languages has been sporadic, and no one has focused on endangered ones,” said Ross Perlin, assistant director of the Endangered Languages Alliance and director of its Jewish Languages project. (Perlin is also a Forward contributor and was named to the 2012 Forward 50.) He, together with ELA executive director Daniel Kaufman and Persian language expert Habib Borjian, is trying to document, describe and preserve these languages, beginning with Juhuri, Bukhori and Judeo-Median. All three languages have Persian connections, with Juhuri spoken by Jews from southwest Iran and Caucasian Jews of Russia and Azerbaijan, Buhkori from southwest Iran and Central Asia, and Judeo-Median spoken by Jews from northwest-central Iran.
“Good morning. My name is Nomy. I am a girl. Good morning, Moby! He is a robot.”
So begins the first section of YiddishPOP, a new educational website featuring animated videos whose main character is a robot. It’s the result of a project begun three years ago, long awaited by Yiddish students and educators.
The initiative for YiddishPOP came from Avraham Kadar, head of the online education company BrainPOP and husband of the late Naomi Prawer Kadar, a Yiddish teacher and researcher of Yiddish children’s literature. Prawer Kadar also worked with BrainPOP to create ESL (English as a Second Language) educational materials.
Following her death in 2010, Prawer Kadar’s family decided to develop a teaching program for Yiddish within their company. “We felt that the project was a fitting honor for the memory of my mother’s passion for Yiddish. She would have led such a project herself, had she been alive,” said her daughter, Maya Kadar.
BrainPOP, which produces animated teaching materials, was founded by Avraham Kadar in 1999. Though Kadar is an immunologist and pediatrician by profession, he undertook to create teaching programs so that “young patients could understand difficult concepts through creative means.” The programs on BrainPOP are designed to be used by both individuals and groups, including entire classes. The company sells its products to educators and schools, but the YiddishPOP program is available for free online. Every few months a new course-level will be released.
A version of this post appeared in Yiddish here.
Academics and enthusiasts of Yiddish studies have long been pushing for the translation of Yiddish literature. Unfortunately, few efforts have met with much success, even among Jewish readers. The New Yiddish Library Series, from Yale University Press, had plans to translate and publish dozens of Yiddish books, but was forced to halt the project due to low sales.
Writer and translator Michael Wex hopes to change all that. On May 7, Wex, the author of “Born to Kvetch” and “Just Say Nu,” launched an indiegogo campaign to raise money to translate Yosef Opatoshu’s novel, “In Polish Forests.” Wex plans to render the book into English and then post it online for free. A comprehensive introduction will acquaint the reader with Opatoshu’s life and work.
Through this project, Wex hopes to “pioneer a new model for literary translation while rescuing a seminal work of modern Yiddish literature from undeserved neglect,” he writes on his indiegogo page.
In the novel, Opatoshu describes the decay of the Hasidic dynasty in Kotsk after the Napoleonic period, up to the Polish uprising of 1863. He focuses on the lives of backwoods Jews and their daily interactions with gentile Polish peasants. Contrary to the stereotype that Jews lived in constant dread of their Polish neighbors, Opatoshu shows us a very different reality: Jews interacting easily with Poles, and Poles displaying respect for their Jewish neighbors.
“Touching as it does on Hasidism, heresy, pre-Christian Polish folk customs, wife-swapping, messianism, and Polish nationalism, this book will change the way you think about Jewish life in Poland,” Wex writes.
This week Rebecca Miller will be sharing texts that shed light on Jewish life in 18th-century France, the setting of her new novel, “Jacob’s Folly” (Farrar, Straus and Giroux). Her blog posts are featured on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
Gluckel of Hameln was an intrepid businesswoman, a mother of twelve children, a passionate wife, and a memoirist. She died in 1724, at the age of 78. Her memoirs are a rare window into the life of European Jewish women of the period. What struck me most vividly by her account of her days was her ability to bridge a business career (otherwise known as financial survival) and family concerns, living a unified, if exhausting, life.
“My father had me betrothed when I was a girl of barely twelve, and less than two years later I married.” So ends Gluckel’s childhood. As often happened, Gluckel’s marital deal included her being exported to another town. In this case, she was crammed into a peasant cart along with the rest of the wedding party (her mother was much put out, having expected carriages) and bustled off to the “dull and shabby hole” of Hameln, a small village. “There I was, a carefree child whisked in the flush of youth from my parents, friends, and everyone I knew, from a city like Hamburg into a back-country town where lived only two Jews.”
“The Megile of Itzik Manger” and the National Yiddish Theatre seem like a perfect partnership: love and marriage, horse and carriage, Purim shpiel and the Folksbiene.
Manger is considered one of the most important Yiddish poets and playwrights, and “The Megile” is one of several plays in which he put his own stamp on a biblical story. It was reworked as a musical by, among others, award-winning composer Dov Seltzer, a totem of Israeli creativity.
The play has had several successful productions, including a lengthy run in Israel and a brief one on Broadway. This interpretation, however, could better serve its extremely enthusiastic and talented cast.
In a couple of Russian-style numbers, the dancers wear fur caps, a tip-of-the, well, hat, to the theater’s large émigré audience. But this is hardly true to the show’s Persian locale. And director Motl Didner’s use of a circus theme seems puzzling. Employing a ring master (Shane Baker) as narrator works but, after an opening scene set in a 1937 Polish circus, the theme isn’t carried through in a meaningful way.
The news about Yiddish literature these days is mostly about translation — whether from Yiddish (as with Moyshe Kulbak’s “Zelmenyaner,” which I recently reviewed), or, as seems to be increasingly the case, into Yiddish.
But there are plenty of writers out there producing work in Yiddish, plain and simple. A representative sample can be found in the new issue of Afn Shvel, a Yiddish magazine whose latest issue is dedicated to new Yiddish writing.
Published by the League for Yiddish and edited by Sheva Zucker, the latest double issue of Afn Shvel (or “On the Threshold”), departs from the usual magazine format to look more like a quarterly literary journal.
Translating classic children’s books into Yiddish is becoming a trend these days. First there was “The Hobbit,” which was recently translated by retired computer programmer Barry Goldstein. Now there’s “Alice in Wonderland,” which has been rendered into Yiddish by Israeli children’s author Adina Bar-El.
Bar-El, 66, who lives on Moshav Nir Yisrael, is the author of some 19 books for children and teenagers (including such titles as “Miss Contrary” and “The Strongest Boy in Kindergarten”), as well as poetry and books for adults. She is also a scholar of Jewish children’s literature and journalism in Poland between the two World Wars, and received her doctorate in the field from Hebrew University.
Given the emphasis on wordplay in “Alice in Wonderland,” translation was no easy task. In an English introduction to the volume, Bar-El explains some of her techniques:
Joseph Friedenson, the founder and long-time editor of the Agudath Israel organ Dos Yiddishe Vort, passed away February 23 at his home in Manhattan, the Forverts reported. Friedenson, a survivor of the Holocaust, founded the monthly Yiddish journal in the Feldafing and Landesberg displaced persons camps in Germany, and edited it continually in New York since 1953.
Friedenson was born in Lodz in 1922. His father, Eliezer Gershon Friedenson, was one of the leaders of the Beis Yaakov school movement in Poland. After the outbreak of World War II the family fled to Warsaw where they were imprisoned in the Warsaw Ghetto. There Friedenson married his wife, Gittel Leah Zilberman, who passed away in 2006. They both survived the Warsaw Ghetto, the Szydlowiec Ghetto, the Starachowice labor camp and Auschwitz, and were reunited a few months after the end of the war.
In a 2007 profile of Friedenson for the Forward, Toby Appleton Perl described him as “an avid newspaperman” who read multiple publications daily in several languages. During its heyday in the 1970s and ‘80s, Dos Yiddishe Vort boasted a readership of up to 8,000 people and published many highly regarded Yiddish writers, including Friedenson himself.
Watch Forverts editor Boris Sandler interview Joseph Friedenson in 2011:
The dispute over the papers of the late Yiddish writer Chaim Grade has been settled in favor of the YIVO Institute for Jewish Research and the National Library of Israel, according to a recent press release. The two organizations have also gained control over copyright to Grade’s published work.
Grade was one of the most highly regarded postwar Yiddish writers. His oeuvre includes novels such as “The Yeshiva“ and “The Agunah,” as well as the novelistic memoir “My Mother’s Sabbath Days.” He was also the author much untranslated poetry and several novels that were serialized in the Yiddish press but have never appeared in book form.
The collection was recovered from the writer’s home by the Bronx Public Administrator after the death of Grade’s wife, Inna Hecker Grade, in 2010. It includes 40 boxes of letters, photographs and manuscripts, as well as Grade’s 20,000-volume library.
Earlier, Hannah S. Pressman wrote about the idea behind “Choosing Yiddish: New Frontiers of Language and Culture” and when she first began to study Yiddish. Her blog posts are featured on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
Zi kholmt — she dreams.
In Irena Klepfisz’s remarkable poem, “Etlekhe verter oyf mame-loshn / A few words in the mother tongue,” the speaker presents different female identities in the form of a Yiddish vocabulary list. The poem toggles seamlessly between Yiddish and English, but gradually, the bilingualism of the middle stanzas gives way to a series of incantations solely in the mame-loshn of Yiddish.
Here is Klepfisz’s haunting final refrain:
She dreams / she dreams / she dreams. What strikes me about these verses? The insistent female pronoun, zi; the fact that the poem has shifted irrevocably into Yiddish; the notion that a poem all about language ends with a verb not indicating speaking or singing, but rather, dreaming.
Earlier this week, Hannah S. Pressman wrote about when she first began to study Yiddish. Her blog posts are featured on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
The three of us waited expectantly and somewhat nervously in the seminar room, wondering why we had been summoned by our professor. Nu, what was going on — why the special meeting?
I glanced over at my classmates. Shiri Goren had grown up in Hod Hasharon, Israel, studied at Tel Aviv University, and went on to a successful career as an editor for IDF Radio and television news. Like me, she was now pursuing doctoral work in Hebrew literature. Lara Rabinovitch grew up in Toronto and attended McGill University. She was enrolled jointly in Jewish Studies and history, and had an active side career as a food writer. I hailed from Richmond, Virginia, and had studied English and Religious Studies at UVA.
Three students from very different places, meeting weekly to debate history’s impact on Yiddish cultural expression. During our exploration of “Yiddishism in the 20th Century” in the spring of 2005, we learned about the rise of Yiddish literature, the Yiddish press, spelling reform (quite a contentious subject!), and the language’s role in Israel, America and Cold War politics.
Hannah S. Pressman is the co-editor, with Lara Rabinovitch and Shiri Goren, of “Choosing Yiddish: New Frontiers of Language and Culture.” She is the editor of stroumjewishstudies.org and affiliate faculty for the University of Washington’s Stroum Jewish Studies Program. Her blog posts are featured on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
When I first began studying Yiddish, I felt like I was remembering something I already knew.
It was a lovely sensation, this feeling at home in a language I was still acquiring. There I was, barely a few weeks into my first summer at YIVO Institute’s Uriel Weinreich Program, and I was able to read, write, and speak Yiddish — not perfectly, but happily. Relishing my newfound abilities, I absorbed vocabulary lists, salutations and songs, delighted to be able to talk about the weather or kvetch (complain) about an injury in Yiddish.
Granted, I’ve always had somewhat of a knack for learning languages. Grammar and syntax just fall into place for me. I also undertook my Yiddish studies armed with fluency in Hebrew, a definite advantage when it came to the alphabet and loshn-koydesh (holy tongue) components of Yiddish.
Klezmer violinist Alicia Svigals has experience scoring documentary and feature films. But earlier this year she faced an unusual challenge when she was approached by the Washington Jewish Music Festival to score a 1918 feature-length silent film called “The Yellow Ticket.”
Unlike other scoring jobs, where her focus was mainly on heightening viewers’ experience of onscreen action, this commission would also involve “creating a bridge to another time,” as she put it. Thanks to a grant from the Foundation for Jewish Culture’s New Jewish Culture Network, audiences at the New York Jewish Film Festival will have a chance to cross that bridge when Svigals and Canadian pianist Marilyn Lerner perform the score live at a screening of “The Yellow Ticket” at the Film Society of Lincoln Center’s Walter Reade Theater on January 10. A subsequent tour will travel to Vancouver, Miami, Boston, Philadelphia and Houston.
“The Yellow Ticket,” set in Poland and Czarist Russia, portrays a young Jewish woman named Lea (played by Polish actress Pola Negri, Hollywood’s first European silent film star) as she overcomes adversity to succeed at the university in Saint Petersburg. It is a story of secret identities and the redeeming power of love. For 1918 audiences, the meaning and implications of possessing a “yellow ticket” — a permit held by undesirables like prostitutes and Jews, allowing them to reside in St. Petersburg — would be clear. Now, it is Svigals’ remit to convey through her music the shame and hardship associated with such a document, as well as the risks Lea takes in assuming a false identity in order to pursue her studies.
Earlier, Harry Brod wrote about a couple of sayings with which he disagrees and why he always has a valid passport. His blog posts are featured on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
I’ve been told that students in my college courses sometimes have trouble following what I’m saying because I speak backwards.
The problem is the order in which I put words in a sentence. Having grown up in a Yiddish and German speaking household, I seem to think in the structure of those languages even when I’m speaking English. Maybe if I looked like Yoda they’d get into it, but as a New York Jew in Iowa, I’m just strange.
I think of Cynthia Ozick, who has said that she writes Yiddish sentences in English. Some years ago I was invited to deliver a lecture on Ozick’s wonderful paired short story and novella “The Shawl” and “Rosa.” I made this point by reading a few words from one of the first sentences in “Rosa”: “Her meals she had elsewhere.” That, I pointed out, is not standard English prose. In English one would normally say “She had her meals elsewhere.” Standard Yiddish sentence construction is what it is.
“To me, he is the leading Yiddish poet, the epitome of Yiddish literature in the 20th century,” Mikhail Iossel said of Sutzkever. Iossel, a Soviet émigré and associate professor of English and Creative Writing at Concordia University in Montreal, is the founder and director of the literary, creative writing and historical workshops that have taken place in St. Petersburg, Montreal, Nairobi and Vilnius. The Sutzkever Prize is associated with the SLS Lithuania program for summer 2013.
The new prize is being added to a lineup of already existing ones that are given through the SLS Unified Literary Contest, awarding winners with tuition, stipends and publication assurances. The winner of the Sutzkever Prize will receive tuition to SLS Lithuania plus $500 toward travel expenses. In addition, the winning entry will be translated into Lithuanian, and read at a celebration in Vilnius on the centennial, on July 15, 2013. The deadline for submissions is February 28, 2013.